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In London this past season, there was one show that everyone was talking about. The Young Vic’s A View from the Bridge

Opening to ecstatic reviews, instantly selling out its initial engagement, and then transferred to London’s West End for another sold-out run, this acclaimed new take on Arthur Miller’s passionate Brooklyn waterfront drama comes to Broadway’s historic Lyceum Theatre.
Winner of the 2015 Olivier Awards for Best Revival of a Play, Best Actor - Mark Strong (The Imitation Game; Tinker Tailor Soldier Spy) and Best Director, A View from the Bridge was named “Top Theater Pick of the Year” by the Evening Standard, The Guardian and The Independent. The Times called it “one of the great theatrical productions of the decade.” And Time Out wrote, “To say visionary director Ivo van Hove’s production is the best show in London is like saying Stonehenge is the current best rock arrangement in Wiltshire."

ADDITIONAL INFO

Rush$20 - onstage rush seats available on the day of performance to the Young Vic’s Olivier Award-winning production. These onstage seats, which are also available in advance at the regular price of $135, afford theatregoers "a more immersive experience, are unobstructed, and provide audience members a unique opportunity to be right beside the action onstage," according to a press statement

Age Guidance:13

Show NotesNO Intermission

ACCESSIBILITY INFO

Wheelchairs
Theatre is not completely wheelchair accessible. There are no steps into the theatre from the sidewalk. Please be advised that where there are steps either into or within the theatre, we are unable to provide assistance.

Seating
Orchestra Seating is accessible to all parts of the Orchestra without steps. No steps to the designated wheelchair seating locations. Mezzanine Located on the 2nd level, up 2 flight of stairs from the Orchestra. Please note: on the Mezzanine level there are approximately 2 steps per row. Entrance to mezzanine is behind row J. Balcony Located on the 3rd level, up 4 flights of stairs from Orchestra. There is a separate entrance from street level.

Elevator\Escalator
There is no elevator or escalator at this theatre. Handrails are available at the end of every stepped seat row in the Mezzanine and Balcony.

Entrance
No steps into the theater from the sidewalk. Please be advised that where there are steps either into or within the theater, we are unable to provide assistance.

Restroom
There is a wheelchair accessible restroom

Water Fountain
Located in the ticket lobby Accessible at 36"

Telephone
Payphone - Located in the ticket lobby. Accessible at 54" w/utility outlet.

Assisted Listening System
Please call: (212) 582-7678 to reserve in advance. Drivers license or ID with printed address required as a deposit.

VIDEOS

REVIEWS

This must be what Greek tragedy once felt like, when people went to the theater in search of catharsis. Ivo van Hove’s magnificent reconception ofArthur Miller’s “A View From the Bridge,” which opened on Thursday night at the Lyceum Theater, takes you into extreme emotional territory that you seldom dare visit in daily life. At the end of its uninterrupted two hours, you are wrung out, scooped out and so exhausted that you’re wide awake. You also feel ridiculously blessed to have been a witness to the terrible events you just saw.

------New York Times

Van Hove stages this elegant and lean tale with almost perverse understatement. The actors are barefoot, speaking in measured, almost diffident tones. The simplicity and restraint, however, gathers to a ferocious and bloody head that leaves you breathless and aghast. Lest you think direction and design is the real star (yes, both are utterly amazing), the ensemble (most of them direct from the Young Vic world premiere in London) is uniformly superb, palpably relishing van Hove’s emotionally transparent approach. The head that throbs the hardest is bullet-clean and belongs to Mark Strong, who gives a performance of harrowing intensity as doomed Eddie Carbone.

-----TimeOut NY

Van Hove's neat, spare staging brings perhaps too much order and rationality to a disorderly story of irrational passion. Still, considering these are the memories of our attorney narrator Alfieri, its resemblance to a pristine deposition makes sense. Beyond that, van Hove does Miller a great honor by taking A View from the Bridge out of the museum and asserting it as a living, breathing work capable of being reimagined ad infinitum, like the best plays by Shakespeare.